Art, Artisans and Apprentices: Apprentice Painters & Sculptors in the Early Modern British Tradition

Before the foundation of academies of art in London in 1768 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were ‘limning’, staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptors, a training in a trade met their practical needs. This ‘training’ was of an altogether different nature to an ‘education’ in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. 00James Ayres provides a lively account of the inter-relationship between art and trade in the late 17th to early 19th centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the ‘art and mystery’ of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the ‘long’ 18th century. Cover 1 Title Page 4 Copyright Page 5 Contents 6 Introduction 10 Part 1: Crafts, Trades, Artisans & Guilds 14 Chapter 1: Art & Mystery 15 Chapter 2: The guilds & livery companies 41 Chapter 3: Guild regulation of training 57 Chapter 4: Indentured apprenticeships 73 Chapter 5: The craft trades & the visual arts 93 Part 2: Painters 110 Chapter 6: The art of picture craft 111 Chapter 7: The materials of painters 126 Chapter 8: Painter Stainers 146 Chapter 9: The painters: mechanic & liberal 163 Chapter 10: Easel painting 171 Chapter 11: The trade of painting in oil 191 House & decorative painting 191 Sign painting & making 211 Coach painting 229 Marine painting 243 Chapter 12: Size painting 262 Stained hangings 262 Stained transparencies 269 Scene painting for the theatre 274 The plasterers 277 Chapter 13: Limning & watercolour painting 290 Limning 290 Watercolour painting 299 Part 3: Sculptors 310 Chapter 14: Sculpture 311 Chapter 15: Modelling in clay & casting in plaster 332 Modelling 332 Casting in plaster 343 Chapter 16: The pointing machine 348 Chapter 17: Carving 356 Woodcarving 356 Stone & marble carving 380 Chapter 18: Metal casting & the foundry 403 Chasers & chasing 412 Die-sinking & seal-cutting 418 Part 4: The Emergence of Academies of Art 432 Chapter 19: The emergence of academies of art 433 Chapter 20: Conclusion 461 Appendix I: Indenture of 1788: Isaac Dell 470 Appendix II: Advertisement for a Stationer and Picture dealer c. 1750–1759 472 Appendix III: Samuel Wale (?–d. 1786) as sign painter 473 Appendix IV: Charles Catton (1728–1798) “The Prince of Coach Painters” 474 Appendix V: John Baker RA (1736–1771), coach painter 475 Appendix VI: Luke (Marmaduke) Cradock (1660–1717) the “Ornamental Painter” 476 Appendix VII: Sign painting in Colonial and early Federal America 477 Appendix VIII: Prices of house painters’ work of 1799 479 Appendix IX: Stained hangings: early seventeenth and eighteenth century 480 Appendix X: A sampling of individual painters or sculptors who left the English Provinces for apprenticeships in London, Westminster or Southwark 481 Appendix XI: Some of the many woodcarvers who later worked in stone and marble 482 Appendix XII: The construction of an armature in John Flaxman’s studio 483 Appendix XIII: Prices in 1797 for shipcarving on Royal Navy vessels in relationship to tonnage 484 Appendix XIV: Price list for lead statuary 485 Appendix XV: Some members of the St Martin’s Lane Academy 486 Appendix XVI: Proposed accommodation and prospectus for the Royal Academy Schools 488 Appendix XVII: Part of Gustav Waagen’s (1794–1868) evidence before the Select Committee of the House of Commons in 1834, on the value of Academies of Art 490 Glossary 491 Acknowledgements 502 Bibliography 506 Index 522 AcknowledgementsIntroductionPART 1. CRAFTS, TRADES, ARTISANS AND GUILDS1. Art& mystery 2. The guilds& livery companies3. Guild regulation& training4. Indentured apprenticeships5. The craft trades& the visual artsPART 2. PAINTERS6. The art of picture craft7. The materials of painters8. Painter stainers9. The painters: mechanic and liberal10. Easel painting11. The trade of painting in oilHouse and decorative paintingSign painting& makingcoach paintingmarine painting12. Size paintingStained hangingsStained transparenciesScene painting for the theatreThe plasterers13. Limning& watercolour paintingLimningWatercolour paintingPART 3. SCULPTORS, CARVERS& RELATED TRADES14. Sculpture715. Modelling& casting in plasterModelling in clayCasting in plaster16. The pointing machine17. CarvingWoodcarvingStone& marble carving18. Metalwork& related tradesThe foundryChasers& chasingDie-sinking& seal-cuttingPART 4. ACADEMIES OF ART& THE FOUNDATIONS OF ARTISTIC PROFESSIONS19. The origin& function of academies of art20. ConclusionAppendix I: Indenture of 1788: Isaac DellAppendix II: Advertisement for a Stationer and Picture Dealer c. 1750-1759Appendix III: Samuel Wale (?-d. 1786) as sign painterAppendix IV: Charles Catton (1728-1798)"The Prince of Coach Painters"Appendix V: John Baker RA (1736-1771), coach painterAppendix VI: Luke (Marmaduke) Cradock (1660-1717) the"Ornamental Painter"Appendix VII: Sign painting in Colonial and early Federal AmericaAppendix VIII: Prices of house painters'work of 1799Appendix IX: Stained hangings: early seventeenth and eighteenth centuryAppendix X: A sampling of individual painters or sculptors who left the English Provinces for Apprenticeships in London, Westminster or SouthwarkAppendix XI: Some of the many woodcarvers who later worked in stone and marbleAppendix XII: The construction of an armature in John Flaxman's studioAppendix XIII: Prices in 1797 for ship-carving on Royal Navy vessels in relationship to tonnageAppendix XIV: Price list for lead statuaryAppendix XV: Some members of the St Martin's Lane AcademyAppendix XVI: Proposed accommodation and prospectus for the Royal Academy SchoolsAppendix XVII: Part of Gustav Waagen'S (1794-1868) evidence before the Select Committee of the House of Commons in 1834, on the value of Academies of ArtGlossaryBibliographyIndex Before The Foundation Of Academies Of Art In London In 1768 And Philadelphia In 1805, Most Individuals Who Were To Emerge As Artists Trained In Workshops Of Varying Degrees Of Relevance. Easel Painters Began Their Careers Apprenticed To Carriage, House, Sign Or Ship Painters, Whilst A Few Were Placed With Those Who Made Pictures. Sculptors Emerged From A Training As Ornamental Plasterers Or Carvers. Of The Many Other Trades In A Position To Offer An Appropriate Background Were Limning, Staining, Engraving, Surveying, Chasing And Die-sinking. In Addition, Plumbers Gained The Right To Use Oil Painting And, For Plasterers, The Application Of Distemper Was An Extension Of Their Trade. Central To The Theme Of This Book Is The Notion That, For Those Who Were To Become Either Painters Or Sculptor, A Training In A Trade Met Their Practical Needs. This Training Was Of An Altogether Different Nature To An Education In An Art School. In The Past, Prospective Artists Were Offered, By Means Of Apprenticeships, An Empirical Rather Than A Theoretical Understanding Of Their Ultimate Vocation. James Ayres Provides A Lively Account Of The Inter-relationship Between Art And Trade In The Late Seventeenth To Early Nineteenth Centuries, In Both Britain And North America. He Demonstrates With Numerous, Illustrated Examples, The Many Cross-overs In The Art And Mystery Of Artistic Training, And, To Modern Eyes, The Sometimes Incongruous Relationships Between The Various Trades That Contributed To The Blossoming Of Many Artistic Careers, Including Some Of The Most Illustrious Names Of The Long Eighteenth Century. Crafts, Trades, Artisans And Guilds -- Painters -- Sculptors -- The Emergence Of Academies Of Art. James Ayres. Includes Bibliographical References And Index. Before the foundation of academies of art in London in 1758 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were ‘limning’, staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptor, a training in a trade met their practical needs. This ‘training’ was of an altogether different nature to an ‘education’ in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late seventeenth to early nineteenth centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the ‘art and mystery’ of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the ‘long’ eighteenth century. Before the foundation of academies of art in London in 1758 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were limning, staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptor, a training in a trade met their practical needs. This training was of an altogether different nature to an education in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late seventeenth to early nineteenth centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the art and mystery of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the long eighteenth century. [Elib]